#david kordansky gallery

[toutpetitlaplanete]

Martha Diamond - New York Purple No. 1, 2000

[egoschwank]

al things considered — when i post my masterpiece #1172

first posted in facebook march 29, 2023

jason fox -- "zues" (2018)

"terror has indeed become as real as life" ... barnett newman

"what a lamentable thing it is that men should blame the gods and regard us as the source of their troubles, when it is their own wickedness that brings them sufferings worse than any which destiny allots them" ... homer

"the deeply talented fox has modulated his formerly cartoonish style into varieties of semi-abstraction that are at once intense and devil-may-care. painted, mostly, in strident chinese red, brushed with browns as filmy as shadows, the pictures melt hints of faces, figures, or objects into minimally effortful gestural cadenzas. an effect of pressured but nonchalant subjectivity suggests snatches of normal conversation at a heavy-metal concert or stray thoughts in a burning building. fox’s is an uncannily companionable art, which can seem to have been waiting for you to show up. its mind-reading quality recalls the best early work of david salle, minus the archness" ... the new yorker

"intersections—whether between drawing and painting, or movies and modernism, or at a sketchy street corner in SoHo—fuel the wild imagination of jason fox, an exceedingly talented american painter whose new show, 'old wrld,' is on view at the david kordansky gallery through april 22" ... andrea k. scott

"if 'zues' and 'wrld' are any indication, i think jason fox just lost the spelling bee" ... al janik

[mentaltimetraveller]

Thomas Houseago, Demon, 2024

redwood, rebar, and plaster, 89 x 18 x 23 inches (226.1 x 45.7 x 58.4 cm)

at David Kordansky Gallery

[theaskew]

Ruby Neri (American, b. 1970, lives and works in Los Angeles), Flowers, 2021. Ceramic with glaze, 45 x 36 x 45 in. | 114.3 x 91.4 x 114.3 cm. (Source: David Kordansky Gallery, Los Angeles) 

[ce-sac-contient]

Sam Gilliam - Starting I, 1972

acrylic on canvas (103 x 182 x 5 cm)

David Kordansky Gallery

[mybeingthere]

Betty Woodman (1930–2018) is recognized as one of the most important voices in postwar American art, having synthesized sculpture, painting, and ceramics in a highly original and immediately recognizable formal vocabulary. Her embodied readings of a diversity of ancient and modern art historical traditions, as well as her fearless pursuits of visual pleasure, posited her as a boldly contemporary figure whose work proves revelatory in discussions about gender, modernism, craft, architecture, and domesticity. She began as a precocious studio potter in the 1950s; over the subsequent decades, she created a radical new vision of how ceramics could function in a contemporary art context. Beginning in the early 2000s, she took on the legacies of Modernist masters like Matisse and Picasso in increasingly direct fashion, incorporating canvas in multimedia works and rendering interior scenes with the breadth and drama of epic history painting.

Betty Woodman was born in Norwalk, Connecticut, raised in Newton, Massachusetts, and studied ceramics at the School for American Craftsmen in Alfred, New York from 1948–1950. Woodman was the subject of numerous solo exhibitions worldwide during her lifetime, including a 2006 retrospective at The Metropolitan Museum of Art, New York—the first time the museum dedicated a survey to a living female artist. To learn more about Betty Woodman, please visit the Woodman Family Foundation.

[distinktionsfetzen]

Check out Chris Martin, Taz (Queen of Spades) (2023), From David Kordansky Gallery

[friendswithclay]

“Doyle Layne’s “weed pots,” circa 1960-78, glazed ceramic, at David Kordansky Gallery. “Lane didn’t invent the weed pot,” our critic says, “but as this exhibition proves, he perfected it.””

Credit...via David Kordansky Gallery; Photos by Jeff McLane

[cosmicanger]

Fred Eversley; Untitled (parabolic lens), (1969) 2020, Jeff McLane. Courtesy of Fred Eversley and David Kordansky Gallery

[abwwia]

Tala Madani, Shit Mom (Visitors), 2020. Oil on linen — 77 x 80 x 1 1/4 inches. Courtesy David Kordansky Gallery.

Born in 1981 in Tehran, Iran, residing and working in Los Angeles, the United States of America, Tala Madani is a contemporary artist occupied with painting, but also animation, or video. One encounters a critical combination of both slapstick humor and a wide range of contemporary critique—reflecting on issues such as political authority, power imbalances, gender and identity, the representation of people in art and life, or everyday topics such as motherhood. Her distinctive figurative language is marked by a radical morphology, depicting people as chubby, bald, naked, or deformed, and an omnipresent affinity for movement, speed, and sequence—hence her use of animation and video in her artistic practice.

[enemyfelled]

Jenna Gribbon The strange light of absence, 2022 (oil on linen)

source ・ David Kordansky Gallery

[k00295732]

Artist research, Tom of Finland

Touko Valio Laaksonen, known by the pseudonym Tom of Finland, was a Finnish artist who made stylized highly masculinized homoerotic art, and influenced late 20th-century gay culture. He has been called the "most influential creator of gay pornographic images"

I like how unapologetic toms art is he is making gay art for himself and other likeminded and has no apology for anyone who objects.

A quote from the David kordansky gallery, “Tom gave form to an imaginative universe that in turn helped fuel real-world liberation movements and enabled gay men to access their strength in new ways.”

[gregdotorg]

Little Mobile for Tuttle Pyramid

Actually, the Calder came first, so this is a Little Tuttle Q*Bert Plinth for Little Mobile for Table's Edge, from an Alexander Calder/Richard Tuttle show that just closed at Pace Gallery in LA (and David Kordansky, also in LA, but this was at Pace).

[mentaltimetraveller]

Isa Genzken

Untitled (Schauspieler), 2012

mannequin and mixed media

75 x 27 x 15 inches (190.5 x 68.6 x 38.1 cm)

at David Kordansky Gallery

[theaskew]

David Altmejd (Canadian b. 1974, lives and works in Los Angeles), Luna, 2024. Concrete, steel, foam, epoxy clay, epoxy gel, resin, acrylic paint, pencil, colored pencil, quartz, glass, and glass rhinestones. 30 1/2 x 21 1/4 x 24 in. | 77.5 x 54 x 61 cm. (Source: David Kordansky Gallery, Los Angeles. Exhibition: L’esprit dans le temple de l’âme May 11 – June 15, 2024)

[atlasphoebus]

Altmejd, D. (2022). The Man and the Whale. [Sculpture]. White Cube Gallery. David Altmejd. "What makes sculpture different from every other art form is the fact that it exists in the same space as the viewer. It has the same presence in the world. In my mind, it sort of potentially functions like the body, like the body of a person. It's a finite object, but it contains infinity."

(Altmejd, D., 2020, 0:00)

David Altmejd is a Canadian sculptor who creates mixed media works, often using repeating elements such as eyes, noses, fingers and mixing natural and synthetic materials that result in the bending of reality and morphing together life and death, decay and rebirth. Altmejd, born in 1974 in Montreal, Quebec, earned a Bachelor of Fine Arts from Université du Québec à Montréal and later his Masters at Columbia University in 2001. He has since exhibited around the world, and is currently represented by Xavier Hufkens, White Cube, and David Kordansky Gallery.

Altmejd is a magician, an alchemist and a contemporary Victor Frankenstein. His creations resemble human form at a vague glance, but exist in worlds and realities that we can not define. As he pushes and pulls, adds and takes away, duplicates and hollows out, voids of time and space are created - like a glitching computer drifting the cosmos or a bombed building that has taken on a new form of life. They grow and they decay, as Altmejd plays god to these creatures he fashions together out of parts. He is self described as drawing energy from contrast in his work, which is vivid and clear with these themes that are constantly present within his sculptures, and that they manifest in a way that is similar to the relationship between a parent and a child, that although the initial process is under his control, there comes a point where they grow away from him, a phase where his role is only to facilitate them into their final form.

Altmejd, D. (2007). The New North. [Sculpture]. Saatchi Gallery. For me, Altmejd has become a Magnum Opus. As a teenager, I was fascinated with and consumed by alchemical science, the stories of transmutation, turning lead into gold, the Philosopher's stone. A practice which bridges between science and magic, with ideals and goals still explored and desired within a contemporary context. I feel to be a sculptor is to be an alchemist, to take the base materials and transmute them into objects of nobility, to give them a life and a form and a name. I carry these reflections on Altmejd as a well that I drink from in my heart and mind, a source of guidance and grounding that never dries up. There is certainly an infinity shared, an infinity of admiration and contemplation.